After a decade away from the stage, Phil Collins will return for a run of shows in Europe next year.

In June 2017, Collins will perform a five-night residency at the Royal Albert Hall in London, before dates in Paris and Cologne.

The former drummer, then frontman, of Genesis – who is one of only three artists in history to sell over 100m records – first announced his retirement from music in 2011. However, he said performing at two charity shows in August had given him a change of heart and he had also been encouraged by his children to start performing again.

He was one of the planet’s biggest stars, selling 100ms of records. He talks about the madness of fame, that threat to leave the UK and whether he really dumped his wife by fax

“It’s going to be a romp through my songs that people love,” he said of the tour, titled Not Dead Yet, which will kick off in June next year. Collins’s 15-year-old son Nicholas will accompany him on stage, playing drums on the tour.

However, Collins, 65, said it was unlikely he would play the drums himself and that he would “just be singing”.

“I don’t think I’ll ever be able to play the way I used to,” Collins admitted. “Something happened one night on that last Genesis tour and after that point, it never came back. I tried heavier sticks, I tried to use bigger cymbals, I just couldn’t get any power. It’s a bit of a mystery why it happened but I’m 65 and I’ve been playing since I was five years old.”

He added: “I play with my fingers and that’s the thing that has clammed up over the past few years. So it’s a matter of getting my strength back … I’ve got a drum kit in the garage and I will be getting to that to see if I can at least do In the Air.”

The musician also addressed his recent struggles with alcohol following his third divorce in 2008.

“I wanted to be a dad at home but as soon as I retired my family split up so I didn’t have anything to go home to,” said Collins. “And that’s when I started drinking.”

After checking himself into rehab, the singer has now been sober for three years and said he was now back with his third wife, though joked wryly “she didn’t give me the money back”.

They divorced in a multi-million pound settlement nine years ago. But now they’re back together – proof that you can’t hurry love …

Collins, who appeared at the press conference with a walking stick, also spoke candidly about his recent health difficulties. “Sixty years of drumming messed up my back and hips,” he said. “I’ve had back surgery to sort it out but it’s left me with a dropped foot. I’m hoping it will get better as my nerves regenerate”.

He also refused to rule out the possibility of Genesis working together again in the future. The group reunited in 2007 for a one-off tour but haven’t played together since. “Doing the book [his autobiography Not Dead Yet] I was reminded what good friends we are,” he said. “ I consider what we had to be pretty special … I wouldn’t rule it out.”

Collins said he was open to working with the new generation of musicians who have cited him as an inspiration – a list which includes Kanye West, Lorde and Beyoncé - though was adamant he didn’t just want to be “the ornament on someone else’s cake”.

When Adele was working on her third album, 25, she met with Collins and asked him to write a piece of music “then she disappeared … I didn’t finish it and she never heard what I did.”

He also said he had Pharrell Williams’s number but admitted, “I don’t know what I’d say to him.”

Collins said for the time being, fans shouldn’t “anticipate any new music”. “I’m going to do these tour dates and then I’m going to have a lie down,” he said.

“I thought I would retire quietly,” said Collins of his return. “But thanks to the fans, my family and support from some extraordinary artists I have rediscovered my passion for music and performing. It’s time to do it all again and I’m excited. It just feels right.”

Collins made his solo debut in 1981 entitled Face Value, which featured In the Air Tonight. He went on to have success with Easy Lover, You Can’t Hurry Love and Against All Odds (Take a Look at Me Now).

Tear-jerkers such as Adele’s Someone Like You frequently top the charts these days, while gloomy classical compositions like Mozart’s Requiem have moved people for centuries. Both portray and bring about a strong sense of loss and sadness. But our enjoyment of sad music is paradoxical – we go out of our way to avoid sadness in our daily lives. So why is it that, in the arts, themes such as loss can be safely experienced, profoundly enjoyed and even celebrated?

Researchers have long been puzzled about this phenomenon and it’s not until fairly recently that we have started to gain some insight into how we enjoy music. Now, a new study by colleagues and me, published in Frontiers in Psychology, has discovered why some of us enjoy sad music more than others – and it’s got a lot to do with empathy.

Research has already shown that open individuals typically score highly on musical sophistication, while “systemisers”, those with a strong interest in patterns, systems and rules, tend to prefer intense music such as rock and punk.

But what about sad music? Surely nobody would like it unless the emotion experienced is not actual sadness but some kind of transformed version of it? Based on large surveys of what people experience while listening to sad music, we know that these experiences typically fall into different categories.

For some, sad music actually deepens and amplifies the feelings of sorrow and loss – emotions that are connected to personal events and memories. These experiences are far from pleasurable and therefore do not offer an explanation for the paradox. For others, sad music brings about feelings of melancholia, the kind of sentiment you might have on a rainy day after your favourite team lost.

The mystery of being moved

The most curious type of experience, however, is the feeling of being moved, which we think is the basis of our fascination with sad music. This experience can be difficult to describe verbally, but it is often intense and pleasurable. However, not everyone seems to be able to experience it. So who would? Intuitively, it would make sense that those who easily feel empathy are also easily moved.

To test this hypothesis, we recruited a nationally representative sample of 102 participants to a listening experiment. We played them a piece of instrumental sad music, Discovery of the Camp by Michael Kamen, which was briefly played in the drama miniseries Band of Brothers. In an initial pilot study, the vast majority of people couldn’t recognise it.

Our decision to focus on instrumental music that participants would be unlikely to have heard previously was to rule out any external sources of emotions, such as specific memories they might have for a particular piece of music or interpretations of the lyrics. In other words, we wanted to be sure that the participants’ emotional responses would be brought about by the music itself.

The listeners were also asked to reveal a wide range of background measures including how prone they were to dwell in nostalgia and what their current mood, health, and quality of life was. We also profiled their music preferences and used standard trait empathy measure, “the interpersonal reactivity index”, to evaluate how much empathy they had.

The experiences generated by this particular music ranged from feeling relaxed or moved to sometimes being anxious or nervous. Participants who experienced being moved reported intense, pleasurable, and yet sad emotions at the same time. Crucially, we found that the people who were moved by the piece also scored highly on empathy. Conversely, those with a tendency of being low on empathy hardly ever reported being moved by this music.

What’s more, our findings suggest that the key to the enjoyment is not only the ability to empathise with the sad emotions expressed by the music, but also the ability to self-regulate and distance oneself from this process. This specific component of empathy is known as “empathic concern”. While empathising means responding to somebody’s perceived emotion by experiencing a similar feeling, empathetic concern means also feeling tenderness, compassion and sympathy for them. This specific trait best predicted whether our participants reported being moved by the sad music.

Understanding the results

The research adds to a body of work suggesting that music appreciation involves social cognition. People sensitive and willing to empathise with the misfortune of another person – in this case represented by the sad music – are somehow rewarded by the process. There are a number of theories about why that is.

The reward could be purely biochemical. We have all experienced the feeling of relief and serenity after a good cry. This is due to a cocktail of chemicals triggered by crying. A recent theory proposes that even a fictional sadness is enough to fool our body to trigger such an endocrine response, intended to soften the mental pain involved in real loss. This response is driven by hormones such as oxytocin and prolactin, which actually induce the feelings of comfort, warmth and mild pleasure in us. This mix of hormones is probably particularly potent when you take the actual loss and sadness out of the equation – which you can often do in music-induced sadness.

It is also possible that the effect is mainly psychological, where those who allow themselves to be emotionally immersed in the sad music are simply exercising their full emotional repertoire in a way that is inherently rewarding. The capacity to understand the emotions of others is crucial for navigating the social world we live in, and therefore exercising such an ability is likely to be rewarding – due to its evolutionary significance.

Music could almost be compared to a powerful drug. If empathy lies at the core of transforming this “drug” into pleasure or pain, could music itself be used to train people to be more empathetic?

We do not yet know, although music therapy is commonly used to rehabilitate people with emotional disorders, such as depression and low self-esteem. Understanding the emotional transformations induced by sad music could certainly help us to understand how musical interventions could be used for those suffering from emotional disorders.

While we may not have fully cracked the code of these transformations, the new study is a first step. But it certainly seems that allowing yourself to be transported and immersed in a musical journey into tragedy and sorrow may be just what your social mind craves and needs to keep in shape.

Video sites such as YouTube will be forced to pay more to musicians and record companies under plans to reform European copyright laws.

The draft directive will also require publishers and producers to tell performers or authors what profits their works have generated.

The music industry has long criticised YouTube for failing to pay enough for content such as music.

News publishers will also be recognised as rights holders for the first time.

Under the directive, portals such as Google News would be forced to pay newspaper publishers a fee when using small extracts or snippets of news stories.

Carlo Perrone, head of the European Newspaper Publishers' Association, said creating a copyright for news publishers in Europe was a "significant and historic step".

Jean-Claude Juncker, president of the European Commission, said: "I want journalists, publishers and authors to be paid fairly for their work, whether it is made in studios or living rooms, whether it is disseminated offline or online, whether it is published via a copying machine or hyperlinked on the web."

The Commission has not detailed how it would force sites such as YouTube to pay more to artists.

The plans also call for easier access to online content across all EU countries and to reform copyright rules for research and education.

Andrus Ansip, vice-president for the digital single market, said: "Our proposal will ensure that more content will be available, transforming Europe's copyright rules in light of a new digital reality."

'Value gap'

The proposals, which are likely to be challenged by lobbyists, must go to the European Parliament and EU states for approval - which could take years.

More than 1,000 artists, including Lady Gaga and Coldplay, signed a letter calling on the Commission to take steps to address the "value gap".

It said sites such as YouTube were "unfairly siphoning value away from the music community and its artists and songwriters".

Andrew Lloyd Webber has said there is a perception in Britain that putting children on stage is like “sending them down the mines” as he bemoaned the stringent laws on child actors.

The stricter regulations in the UK meant that Lord Lloyd Webber has had to hire three times as many child actors for his stage adaptation of the Jack Black film School of Rock than he did in the United States, where the show opened on Broadway in December 2015.

He said last year that casting for the London version of the production would be “three times the work” as it was in New York, where he could work with one cast. It has resulted in the show having to find 39 child actors, all of whom play their own instrument live on stage, compared to 13 in the United States.

“I think there is still a feeling that we are sending children down the mines,” he said at the West End launch of the British version of the production. “Therefore we have to have this number of children.

“But I am really glad that we are going to have three sets of children because it is rather wonderful to feel that they are all going to get an opportunity.

“I might not have been saying that if we had not found the pool of talent that we have, but right now I am really pleased that we have got them.”

Lord Lloyd Webber has written the score for the production, while fellow peer and Downton Abbey creator Julian Fellowes has adapted the film, which was released in 2003, for the stage.

Lord Lloyd Webber went on to criticise producers who drive up the prices of theatre tickets by staging the shows in smaller theatres. He added that the Broadway production of School of Rock, which was held at the Winter Garden Theatre in Manhattan, could have been staged in a smaller theater to increase ticket prices, but said he would rather keep the musical accessible.

“It’s a very big issue,” he said. “Because what’s happened is that theatres can now do dynamic pricing like airlines do. They can see where there is demand and where there is not.

“You are never going to get it 101 per cent right, but I do believe that it is really important that theatre is accessible.

“That’s one of the reasons we went into a rather bigger theatre in Broadway than perhaps some people suggested, because there is a school of thought that you keep the show really tight and force the ticket prices up.

“There are several producers who have been doing that but I am really not one of them.”

The show is centred on a struggling musician who bluffs his way into a teaching role at an elite school before leading his students against authority and into a rock band. It opens in London in November, by which time it will have been tweaked for a British audience, according to Lord Fellowes.

“Some of the one liners will play in both countries and others will be adjusted,” he said. “Also there’s timing - we have jokes in there about Donald Trump and also about a woman President. Very shortly we may have to be adjusting those slightly.”

When asked if there was something incongruous about two Lords creating a musical from a film which centred on “sticking it to the man”, Lord Lloyd Webber joked: “Well, I sometimes feel it when I go to the Lords.”

The best Beatles album? The rock historians often point to Sgt Pepper’s Lonely Hearts Club Band as the moment, in 1967, when rock magically grew up and became a legitimate art form, at least as it was perceived by the mainstream media. Many fans love the sprawl and variety of the self-titled 1968 double album, popularly known as The White Album. In some quarters there’s a fondness for Abbey Road and its side-long suite of mini-songs, and lovers of the Bob Dylan-influenced folk-rock of the mid-‘60s cherish Rubber Soul above all. They all have merit, but none of them is as consistently brilliant and innovative as Revolver.

It does everything Sgt Pepper did, except it did it first and often better. It just wasn’t as well-packaged and marketed. The hype that preceded Sgt Pepper had a lot to do with the leaps in imagination, the studio-as-instrument adventurousness, that flourished on Revolver in half the time: the sessions for the 1966 album spanned two-and-a-half months whereas Sgt Pepper took an unprecedented five months to record.

Where Revolver began tells us a lot about where it ended up. When recording commenced in April 1966, The Beatles dived into the future with Tomorrow Never Knows. John Lennon conjured a sound in his head, and left it up to producer George Martin and a 20-year-old rookie engineer, Geoff Emerick, to figure out how to get it on tape. They succeeded spectacularly.

“He wanted his voice to sound like the Dalai Lama chanting from a hilltop," Martin later recalled. "Well, I said, 'It's a bit expensive going to Tibet. Can we make do with it here?'"

Lennon’s voice was filtered through a Leslie speaker cabinet, which gave it a vibrato effect normally associated with a Hammond keyboard. George Harrison brought Eastern drones to the track by playing a long-necked lute called the tamboura as well as a sitar, and Paul McCartney cooked up backward and vari-speed tape loops, including one that evoked the sound of seagulls. Ringo Starr’s drums were pushed to the foreground in the mix, inverting the typical hierarchy of most rock instrumentation. Ringo’s drums became the lead instrument, a thundering focal point amid the sonic chaos. Lennon’s ‘Tibetan-monk’ vocals urged listeners to "turn off your mind, relax and float downstream.”

‘One peak to the next’

All The Beatles’ previous albums had been rush jobs – their debut was recorded in four hours. But in 1966, the quartet pulled off the road for good to devote themselves to songwriting and record-making. Lennon and McCartney were still closely collaborating and pushing each other to new levels of innovation, and Harrison was emerging as a formidable third songwriter and voice in the band. Now, with the luxury of time to tinker, edit, re-edit and experiment, The Beatles were poised to record a masterpiece.

Tomorrow Never Knows set a high standard for an album that moves from one peak to the next: Harrison’s corrosive guitar lick and McCartney’s commanding counterpoint bassline in Taxman made for one of The Beatles’ toughest-sounding tracks, the brisk strings on Eleanor Rigby presaged the chamber-pop feel and emotional tenor of She’s Leaving Home on Sgt Pepper, and Harrison’s plunge into Eastern mysticism and modalities on Love You To set the stage for the similarly inclined Within You Without You on the later album.

The melancholy beauty of Here, There and Everywhere answered the challenge of Brian Wilson’s Beach Boys masterpiece Pet Sounds, Doctor Robert and And Your Bird Can Sing achieved jingle-jangle guitar-pop perfection, and the horn-fueled Got to Get You Into My Life channeled Motown and Stax soul. Even a relatively lightweight track such as Yellow Submarine presaged the sometimes fanciful, almost child-like wonder of Sgt Pepper tracks such as Lovely Rita.

Sgt Pepper proved to be a prettier package, with its elaborate Peter Blake cover art of the satin-suited, newly bearded Beatles among images of cultural icons ranging from Karl Marx to Mae West. The Beatles spent 700 hours in the studio crafting it, but despite its unassailable high points – the staggering A Day in the Life, the acid-rock fantasia Lucy in the Sky with Diamonds – it’s also riddled with the cute and lightweight (When I’m 64, Lovely Rita) and the drab (Within You Without You).

Revolver was preceded by Rubber Soul, recorded in 1965, in which the band had achieved a new level of sophistication in its songwriting. The evocative wordplay in Norwegian Wood and In My Life aspired to the pop poetry of Dylan and Smokey Robinson. Song for song, it matches up well with Revolver, but it’s not nearly as sonically ambitious.

By the time of the 1968 White album, The Beatles were splintering and essentially turned the sessions into a series of solo recordings with the rest of the band members acting as session musicians. It contains some brilliant music – including Lennon’s caustic Happiness is a Warm Gun and McCartney’s civil-rights hymn Blackbird – and at least a side’s worth of filler (sonic collage Revolution 9; juvenile Why Don’t We Do it in the Road?; blues parody Yer Blues; and the music hall pastiche of Honey Pie).

Abbey Road marks The Beatles’ final recording session, and it planted the seeds for progressive rock by stitching together 11 half-finished songs into a sublimely sequenced suite. Its closing line – “And in the end, the love you take is equal to the love you make" – is a career capstone worthy of The Beatles’ legacy. The first side of the album contains Harrison’s finest Beatles moment, Something, and Lennon’s metal precursor She’s So Heavy. It’s the album in The Beatles discography that comes closest to the majesty of Revolver.

Revolver wasn't always so highly regarded. A few months after it was released, The Beatles began recording Sgt Pepper, an event that was chronicled with great fanfare as the band sequestered themselves in Abbey Road studios. Its magnificence seemed a fait accompli. In contrast, the release of Revolver was overshadowed by Lennon’s infamous and widely misinterpreted ‘more popular than Jesus’ comments. But time has affirmed the enduring worth of Revolver. It now stands as The Beatles’ greatest album.

When the Spice Girls released Wannabe in the UK on 8 July 1996, nobody could have foreseen what followed: two years of what can only be described as world domination. ‘Spice mania’ reached across the globe, and while the group couldn’t sustain that level of success for long, they remain the most successful girl group of all time, achieving more in two years than many of their successors have achieved in a decade.

Their debut, Spice, is still the biggest-selling album of all time by a girl group, with more than 31 million copies sold worldwide. And Spotify announced this week that Wannabe has been streamed for the equivalent of 1,000 years on the service.

I was 4 years old when Wannabe reached number one, and my love of pop music largely stems from the three minutes that introduced us to Scary, Sporty, Baby, Ginger and Posh. Twenty years on, Wannabe and the Spice Girls still stand out from the crowd, despite the long line of copycat girl groups that followed.

“There was nothing else quite like Wannabe on the radio back in summer 1996. Rock and dance music had been dominating the airwaves and charts for quite some time by that point,” Robert Copsey, editor at the UK’s Official Charts Company tells BBC Culture. “The Spice Girls struck at just the right moment with Wannabe; a gutsy, enthusiastic and unashamed pop song we’d all been craving without even realising it.”

It’s instantly recognisable, with participants in the university’s project identifying it in just 2.29 seconds, partly due to Mel B’s unforgettable laugh. That’s quicker than hits by Michael Jackson, Whitney Houston and Elvis Presley, as well as Lady Gaga’s debut, Just Dance. So, what is it about the song that makes it so catchy?

Dr John Ashley Burgoyne and Dr Jan van Balen, who have conducted extensive research into the formula that makes a song memorable, believe Wannabe’s simplicity is integral to its success. “I would describe the song as truly relentlessly catchy,” says Burgoyne. “It’s not that it has this one hook per se. It’s quite ingeniously composed.”

“We found, much to our surprise, that writing a very surprising and unusual hook is not the recipe for long term memorability,” he continues. “Actually, the more conventional your melody in terms of the interval patterns that you use; in terms of the rhythms that you use, the easier the song is to remember over the long term. What makes Wannabe work so well is that it isn’t a difficult song to sing, it has a conventional melody that repeats itself a lot, and it’s just relentless.”

And in the week of its 20th anniversary, Wannabe has made the news again after the United Nations-backed Project Everyone campaign used the song as the soundtrack to its latest campaign video, calling for an end to violence against women, equal pay for equal work and the abolition of child marriage. The song’s famous line has now become a hashtag for girls and women around the world to share what they “really, really want” from world leaders.

Wannabe’s message of female empowerment, famously described by the five-piece as ‘Girl Power’, is as relevant today as it was in 1996. It may have taken the group just minutes to coin the phrase “slam your body down and zig-a-zig-ah” but it seems the world won’t be forgetting it any time soon.

Glastonbury festival-goers have been stuck in queues of up to 12 hours as traffic chaos hit all major routes to the site.

Organisers said rain and ground conditions had caused delays and urged people "not to set off".

Festival founder Michael Eavis apologised and said: "We did ask people to come in later."

More than 100,000 people are due to descend on Worthy Farm for the event.

The gates officially opened at 08:00 BST but people have reported queuing for more than seven hours to get on to the site.

One ticket-holder told the BBC he had been in the queue for "about four and a half hours" and only moved half a mile.

"We're trying to get in the campervan field but we're glad we've come today because we think it's going to be even worse tomorrow," he said.

Others took to social media to vent their frustrations, with Angela Gibbon tweeting: "7 hours in the queue now...so near yet so far away!".

Steve Saunders posted a shot of the roadside saying: "This is a view of a hedge we've had for a hour. It's a beaut!" while Patrick Dear tweeted: "Talking about necessary survival plans now - which of us to eat first."

Mike Ross said he had "never been on a roundabout long enough to take a nap before" and Moira tweeted that she had "been in this traffic for 12 hours, that's longer than any of my relationships".

Mr Eavis said he was "sorry for the delay" but the problem was because "people were coming before the gates were open".

"We did ask people to postpone their trip by about six or seven hours but instead of that - funnily enough - more people have come early this time," he said.

"I don't mind them coming early but they're going to have to wait because we don't have the staff or the car parks until 8 o'clock in the morning."

Festival organisers have advised people "not to set off" yet or "grab some essentials" if they are on the road as they may have a long wait in their vehicles.

A temporary campervan and caravan holding site has also been set up at the Bath and West show ground near Shepton Mallet and festival-goers are being advised to go there.

'Traffic disaster'

Avon and Somerset Police said traffic was queuing on the A37, north and south of the A361 junctions, with further congestion around the A303.

The force has advised people to avoid the area "unless absolutely necessary".

Residents have described the gridlocked roads as a "traffic disaster".

Nigel White, said the A39 through Ashcott was "virtually at a standstill" while Judith Templeman said "no other event would be allowed to cause this level of mayhem".

"If they can't handle the influx of people in an efficient way so as not to cause this level of disruption on all the access routes around Shepton Mallet... then it should be stopped or limited to the number that can be processed efficiently," she added.

Frome MP David Warburton tweeted it had "not been so bad for years" and he would be writing to Mr Eavis as this was "not good for Somerset".

The Met Office posted a weather update on its Twitter account, saying further outbreaks of rain over Glastonbury this morning had added to the "already very wet ground conditions."

Pictures emerged on Monday showing flooding at the Somerset site, with paths under water and camping areas already turned into mudbaths.

Muse, Adele and Coldplay all headlining the main Pyramid stage over the weekend.

His influence still pervades genres from rock and pop to folk and soul, while his stunning lyrical ability remains the pinnacle, inspiring a host of singer-songwriters hoping to make some kind of impact of their own.

Dylan’s career has spanned more than five decades, his poignant, powerful, fiery, heartbreaking and often witty way with words arguably sparking more admiration than his distinctive, gravelly drawl and proving that a skilful command of language can change the world.

The man himself has kept the meanings of many of his songs a mystery, once telling an interviewer that he “does not know what they are about”.

“Some are about four minutes long, some are about five minutes and some, believe it or not, are about 11,” he said, eluding probing and remaining an enigma so fascinating, complex and full of subtleties that he has never lost relevance.

Here, we take a look back at some of his finest lyrical achievements. Of course, this is just a handful of our favourites - please leave your personal favourites in the comments beneath this article.

“I’m walkin’ down that long, lonesome road, babe, where I’m bound, I can’t tell. Goodbye’s too good a word gal, so I’ll just say fare thee well. I ain’t saying you treated me unkind, you could have done better but I don’t mind. You just kinda wasted my precious time, but don’t think twice it’s all right.” - “Don’t Think Twice (It’s Alright)”

“I know you haven’t made your mind up yet, but I would never do you wrong. I’ve known it from the moment that we met, no doubt in my mind where you belong.” - “Make You Feel My Love”

“You who philosophise disgrace and criticise all fears, take the rag away from your face. Now ain’t the time for your tears.” - “The Lonesome Death of Hattie Carroll”

“Idiot wind, blowing through the buttons of our coats. Blowing through the letters that we wrote. Idiot wind, blowing through the dust upon our shelves. We’re idiots babe. It’s a wonder we can even feed ourselves.” - “Idiot Wind”

“Come mothers and fathers throughout the land, and don't criticise what you can't understand. Your sons and your daughters are beyond your command. Your old road is rapidly ageing.” - “The Times They Are A-Changin’”

Bob Dylan - Tangled Up In Blue

“I try my best to be just like I am, but everybody wants you to be just like them. They sing while you slave and I just get bored.” - “Maggie’s Farm”

“They are spoon-feeding Casanova to get him to feel more assured, then they'll kill him with self-confidence after poisoning him with words.” - “Desolation Row”

“I wish that for just one time you could stand inside my shows. You’d know what a drag it is to see you.” - “Positively 4th Street”

“Suicide remarks are torn from the fool's gold mouthpiece, the hollow horn plays wasted words, proves to warn that he not busy being born is busy dying.” - “It’s Alright, Ma (I’m Only Bleeding)”

“Yes, to dance beneath the diamond sky with one hand waving free, silhouetted by the sea, circled by the circus sands, with all memory and fate driven deep beneath the waves. Let me forget about today until tomorrow.” - “Mr Tambourine Man”